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James Gould Cozzens, född 19 augusti 1903 i Chicago i Illinois, död 9 augusti 1978 i Stuart i Florida, var en amerikansk författare.

Biografi
Cozzens växte upp på Staten Island. Hans far, Henry William Cozzens Jr., som dog då Cozzens var 17 år, var en förmögen affärsman och barnbarn till en guvernör från Rhode Island. Cozzens kanadensiska mor, Mary Bertha Wood, kom från Connecticut men härstammade från en familj som levt i exil i Nova Scotia efter den amerikanska revolutionen. Han växte upp i en privilegierad miljö som formade bakgrunden till de flesta av hans verk.

Cozzens studerade vid den episkopala Kent School i Connecticut från 1916 till 1922 och efter examen vid Harvard University i två år, där han utgav sin första roman, Confusion, 1924. Några månader senare hoppade han av studierna och flyttade till New Brunswick, där han skrev sin andra roman, Michael Scarlett. Ingen av böckerna sålde bra och Cozzens reste till Kuba för att undervisa barn till amerikanska medborgare. Här började han skriva noveller och samla material till romanerna Cock Pit (1928) och The Son of Perdition (1929). Efter ett år följde han med sin mor till Europa, där han arbetade som privatlärare till en ung pojke drabbad av polio.

Han mötte Sylvia Bernice Baumgarten, en litteraturagent som han gifte sig med i december 1927 och som framgångsrikt gav ut och marknadsförde hans böcker. Deras äktenskap varade tills de båda dog 1978. Med undantag för militärtjänstgöringen under andra världskriget, familjen levde ett tillbakadraget liv i närheten av Lambertville, New Jersey. Andra tidiga romaner är till exempel, S.S. San Pedro (1931), The Last Adam (1933), och Castaway (1934).

Cozzens belönades med O. Henry Award för sina noveller "A Farewell to Cuba" (1931) och "Total Stranger", publicerad i The Saturday Evening Post 15 februari 1936, därefter skrev han ytterligare två uppmärksammade romaner, Ask Me Tomorrow (1941) och The Just and the Unjust (1942).

Under andra världskriget tjänstgjorde Cozzens i U.S. Army Air Forces, till att börja med uppdaterade han manualer, senare i USAAF:s kontor för Information Services, en förbindelse mellan militären och den civila pressen. Dessa erfarenheter gav basen till hans roman Guard of Honor, 1948 vilken vann 1949 års Pulitzerpris.

Hans roman By Love Possessed, 1957 blev överraskande en framgång med 34 veckor på The New York Times bästsäljarlista och nådde förstaplatsen 22 september 1957, tre veckor efter att den börjat säljas. Romanen låg också till grund för en filmatisering 1961 med Lana Turner i en av rollerna.

Hans sista roman, Morning, Noon and Night, gavs ut 1968 men sålde dåligt.

Bibliografi (urval)
 1924	Confusion
 1925  Michael Scarlett
 1928 Cock Pit
 1929 The Son of Perdition
 1931 S.S. San Pedro
 S.S. San Pedro: : en berättelse från havet (översättning Knut Stubbendorff, Bonnier, 1934)
 1933 The Last Adam
 1934 Castaway
 1936 Men and Brethren
 1940 Ask Me Tomorrow
 1942 The Just and the Unjust
 När lagen griper in (översättning Nils Holmberg, Ljus, 1943)
 1948 Guard of Honor
 1957 By Love Possessed
 Besatt av kärlek (översättning Torsten Blomkvist, Bonnier, 1958)
 1964 Children and Others, (novellsamling)
 1968 Morning, Noon, and Night

Priser och utmärkelser
 Pulitzerpriset för skönlitteratur 1949 för Guard of Honor

Källor

Amerikanska författare
Engelskspråkiga författare
Vinnare av Pulitzerpriset för skönlitteratur
Personer från Chicago
Födda 1903
Avlidna 1978
Män
Personer som tjänstgjort i USA:s arméflygvapen


1990 House Bill 6412. Communication From Executive Department Regarding The Amendment of Sections Of House Bill No. 5701.
Title 1990 House Bill 6412. Communication From Executive Department Regarding The Amendment of Sections Of House Bill No. 5701.


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WellSpan appoints new executive vice president
May 28, 2020 at 12:01 AM May 29, 2020 at 10:57 AM
WellSpan Health has named Anthony Aquilina, D.O., as executive vice president and chief physician executive for the health system. He will join WellSpan in July.
Aquilina will come to WellSpan after more than 25 years at Geisinger Health, most recently serving as regional president of Geisinger Northeast. In that role he was responsible for developing strategic partnerships, growth and planning for Geisinger delivery system services and was accountable for excellence in clinical are, operational efficiency and financial success.
"Dr. Aquilina's track record of leading teams of physicians and administrators to improve quality, safety, patient experience and operational efficiencies will help us advance our WellSpan vision and strategy," said Roxanna Gapstur,�Ph.D., R.N., president and CEO of WellSpan Health. "This is coupled with his health plan background, including experience leading data transparency and cost management, which will advance our journey to value-based care."
In his new role, Aquilina will serve as WellSpan's senior physician leader. He will align and engage providers in strategic priorities, including quality and experience. Aquilina will also act as president of WellSpan Medical Group and clinical executive of all service lines.
In partnership with John Porter, executive vice president and chief operating officer of WellSpan Health, Aquilina will have executive oversight of physician and clinical practice, hospital operations, ambulatory and home care, population health and graduate medical education.
"WellSpan is an organization committed to its community, demonstrating high-quality care and delivering on its promises to improve health," said Aquilina. "As we look to the future, we must continue to find better ways of providing greater value to our patients through safe, reliable care with the best experience at an affordable price. I'm excited to join such a dedicated team to advance WellSpan's vision of reimagining healthcare."
Prior to serving as regional president, Aquilina served as chief medical officer of Geisinger Community Medical Center and regional medical director for Geisinger Health Plan, among other positions.
Aquilina has also been actively involved in medical education, serving as a faculty member with Geisinger Commonwealth School of Medicine and King's College Physician's Assistant Program.
Aquilina earned his bachelor's degree from Penn State University, his medical degree from the Philadelphia College of Osteopathic Medicine and a Master of Business Administration from Auburn University in Alabama. He is a board-certified family practitioner and geriatrician and was a practicing primary care physician with Geisinger since 1993.
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Home > Turkish Journal of Biology > Vol. 24 (2000) > No. Ek
Turkish Journal of Biology
Production of Uricase Enzyme from Aspergillus niger and Determination of Some Factors Affecting the Activity
FİGEN ERTAN
EROL AKSÖZ
This study was undertaken to obtain uricase enzyme from Aspergillus niger and also to determine the production conditions and the effects of some factors on enzyme activity. The results of the experiments, in consideration of the production of the uricase enzyme and the factors affecting the production, demonstrated that enzyme activity was maximum when the production time was 3 days at a temperature of 30ºC with the initial pH at 6.0 and inductor concentration at 0.1%. It was determined that ammonium compounds, which were added to the production medium, inhibited enzyme synthesis, and that MgS0_4 has an important role in enzyme synthesis.These results revealed that A. niger may be a benefical source of uricase enzyme.
ERTAN, FİGEN and AKSÖZ, EROL (2000) "Production of Uricase Enzyme from Aspergillus niger and Determination of Some Factors Affecting the Activity," Turkish Journal of Biology: Vol. 24: No. 5, Article 2. Available at: https://journals.tubitak.gov.tr/biology/vol24/iss5/2
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Tag Archives: Jeremy Geist
Theater Around The Bay: PINT SIZED V IS HERE! (Part One)
Pint Sized V begins its four performance run tonight at PianoFight at 8 PM! We've got an amazing line of up of writers this year, and check back next week when we introduce you to our directing team! Meanwhile, here's Christina Augello, Stuart Bousel, Megan Cohen, Alan Coyne, Elizabeth Flanagan, Jeremy Geist, Christine Keating, Juliana Lustenader, Lorraine Midanik, and Daniel Ng telling you all about what it takes to bring you this year's collection!
How did you hear about Theater Pub's Pint-Sized Play Festival and what possessed you to send something in?
Stuart Bousel: Well, as one of the founders of Theater Pub, and the current Executive Director, I knew the festival was around because I'm the guy who puts it on the schedule. That said, I have had a piece in every Pint Sized except Pint Sized II. The first year was a short called Queen Mab in Drag. All the other years, including this one, have been a monologue written for our mascot, the Llama, who was created by Elana McKernan for the first Pint-Sized, and has been played by Rob Ready ever since. No, I don't have to go through the submission process- I'm grandfathered in every year. Executive Directorship has its privileges.
Stuart Bousel
Christine Keating: I heard about Pint-Sized when it happened in 2013, but I wasn't able to see it. It sounded fun and exciting, and I enjoy short storytelling in many forms: flash fiction, web shorts, podcasts. I had written my plays a few months ago to get the idea onto paper, and then Pint-Sized seemed like the perfect venue for them!
Lorraine Midanik: I heard about the Festival from a fellow playwright who thought I might be interested. In March, one of my plays was produced at PianoFight's Shortlived Festival, and I am excited to have another play presented in that terrific venue. I have always been fascinated by the names of beers and thought it would be fun to play with it in my writing.
Elizabeth Flanagan: General stalking of the SF Theater Pub website. I wasn't fortunate enough to make any of the Pint-Sized performances at the Café Royale but I have seen most of the videos of the plays. Good stuff. I feel privileged to be part of this history. It's also pretty special to be included in the first Pint-Sized festival to be performed at PianoFight. My dad lived in the tenderloin and used to take us to Original Joe's on occasion. It's very cool to be back at the old stomping grounds in a new way.
Alan Coyne: I almost certainly heard about this iteration of Theater Pub's Pint-Sized Play Festival through Facebook, and from there, Theater Pub's website. And I'd heard about previous versions of it from folks who'd been involved in them. I've had the idea of Einstein as a bartender in a scene for a long, long time. There's something about the image of him as a silent observer in a bar, a place where the rules of space-time so clearly intersect with the rules of human behaviour, that I find engaging. And so this festival presented the perfect opportunity to try and explore that notion in my own clumsy way.
Christina Augello: I am very familiar with Theatre Pub and knew it was coming up and got an email reminder and followed the link and there it was and I have been wanting to write and the limited parameters seemed perfect to get me started. (Editor's Note: And yes, this is Christina's first play ever!)
Daniel Ng: It was a great experience having my piece, Mark +/-, in Pint-Sized IV, so I've been looking forward to submitting again since then.
Jeremy Geist: I found out about it from one of the Theatre Pub people I'm friends with on Facebook. It was only a two-page play submission, and I already had an idea, so I felt it was worth the effort.
Juliana Lustenader: After seeing the call for submissions on the SF Theatre Pub blog, I decided to do some research and found old YouTube videos of past Pint-Sized performances. The plays I watched were all so creative and funny. I knew I had to be involved with the process somehow. Usually I would audition as an actor for these sort of things, but watching those old videos inspired me to write what I think is the silliest five pages I've ever written. (Editor's Note: And yes, this is Juliana's Bay Area debut as a playwright!)
Megan Cohen: I watched the very first night of Theater Pub ever, years ago, sitting cross-legged on the floor in the front row, then I joined the family immediately, writing a piece for the very next monthly event. The community that's found each other at Theater Pub is diverse in artistic style, and you never know what you'll see, but I find that the theatermakers gathered under this banner tend to be reliably open and generous, with each other and with the audience. Pint-Sized feels like a flagship festival to me, because it pulls together so many of us, with our unique voices and approaches, and I just can't miss it. I've written for Pint-Sized every year. I keep coming back here because of happy history, and because we get an unusual crowd. Since the shows are free, people come who otherwise wouldn't take a chance on a night at the theater, and I love the responsibility of that; it means I better give them something worthwhile to watch, so they'll come back!
What's the hardest thing about writing a short play?
Elizabeth Flanagan: Getting it done. I think the big misconception would be that shorts are quicker to write. Not for me they aren't. I'm always amazed at the amount of time I can spend on a short. I can bang out a rough draft fairly quickly, but the rewrites are tricky. I tend to put just as much work into a short as a full length.
Lorraine Midanik: For me, it's making sure the turn happens at the right time (not too early, not too late…sort of like Goldilocks!). In a short play, there isn't much time to develop the characters and have an engaging plot so it's really a challenge.
Juliana Lustenader: Fitting your 50 page idea into a 10 page limit.
Christine Keating: Crafting characters who are real and relatable in a short conversation.
Jeremy Geist: Creating something meaningful. With a play this short it's really easy to just write a few pages of filler and call it a day.
Daniel Ng: The hardest thing is crafting a satisfying ending. Compelling concepts/scenarios/gags are relatively easy. Sometimes that's all you need or have time for in a short piece, but delivering a definitive punchline or reaching a pithy denouement takes a piece to the next level. But it's hard to get there in a short time in a way that feels organic, that isn't just tacked on.
Megan Cohen: Short plays can be mistaken for "a little something," as though their length means they are inherently small, in importance or in impact. The hardest thing is to not fall for that trap. As any poet will tell you, short isn't the same as small. Keep the play big, and the words few.
Megan Cohen
Alan Coyne: The hardest thing about writing any play is the foreknowledge that the brilliant, dazzling dialogue in my head is going to come out all lumpy and misshapen when I start using actual words. And then once you start, it takes on a life of its own, and spawns a million new tangents, and you could spend the rest of your life rewriting it, and so finishing it is practically impossible. Thank goodness for deadlines!
Stuart Bousel: These days I don't really write short plays any more, and the Llamalogues are really speeches, which I've always found rather easy to write, actually. That said, there is always all the usual challenges of any writing- which is to keep it interesting, and striking that balance between challenging and accessible- not always easy when your only character is a sort of emotionally unbalanced alcoholic anthropomorphic animal.
Christina Augello: Actually I liked writing a short play and it wasn't hard at all.
What's the best thing about writing a short play?
Megan Cohen: Audiences love short work, and that's enough for me; I just checked, and Pint-Sized will feature the 72nd short of mine produced onstage since 2008. (Wow, just reading that sentence makes me tired.) I like the immediacy of shorts; the way this industry works, a full-length play can take years to develop and find a home onstage, but the turnaround time to production with a short is often a journey of just a month or two. An audience is there almost immediately, showing you how your play works, and what it is. You see what makes them laugh, where they get upset, what they connect with, and you get the goodies now, not later, which is an obvious priority for me as an impatient American.
Lorraine Midanik: I like the opportunity to tell a story in a confined timeframe. It forces me to edit out unnecessary words and actions and focuses me on moving the play along in a fun way.
Daniel Ng: The best thing is bringing something to fruition in a short period of time. This is especially true when working with Pint-Sized, where pieces are quickly produced and performed. It's like the immediate satisfaction from cooking and then enjoying a great meal.
Daniel Ng
Elizabeth Flanagan: Going deep quick. Often a short will feel like a throw away piece or it seems a little more frivolous, than say a heavy drama in two acts. But, because you have limited space and time, that entire world, those characters need to be created in a matter of words. When it works it's fantastic. Also with shorts there is great freedom to experiment. With Magic Trick I had a lot of fun playing with a mix of language and genre.
Jeremy Geist: Being able to pursue weird ideas that wouldn't necessarily work in longer formats. I read a lot of weird/gross things on the Internet and like working them into my writing, but they aren't substantial enough for a full-length. It's nice to use short formats to vent some of my more indulgent projects.
Juliana Lustenader: When writing a short play, I feel like I can "get away with" more things. Mainly because it's over before anyone can go "Hey…"
Stuart Bousel: It's definitely true that, aside from the length restriction, all other bets are off- and that is liberating.
Christine Keating: Not wasting any time getting to the point. Also, throwing an audience into the deep end of the world of the play is fun.
Christina Augello: You get it done quickly.
Alan Coyne: The best thing about writing a short play, or having it performed, is seeing how much better everyone else involved makes it.
Who do you think is a major influence on your work?
Christina Augello: The theatre artists I know and work with influence my work as well as over 60 years experience in the theatre and life in general.
Christina Augello
Megan Cohen: The character of the BEEEEAAR, that is, the character in the monodrama I wrote for this year's festival, specifically owes a lot to the influence of playwright Charles Ludlam, a leader of the "Ridiculous" aesthetic movement Off-Off Broadway in the 1970s and 80s. His work has taught me a lot about foolishness and dignity, and the entertainment value of earning a good laugh with a bad joke.
Lorraine Midanik: Because I often write about strong, funny women, my mother is my major influence. She passed away in 2008, but her strength and humor always permeate my work and live within me. My writing has also been influenced by Anthony Clarvoe from whom I have taken playwriting classes at Stagebridge for the last 3 years. I am very lucky to have a wonderful husband and two amazing daughters from whom I draw my inspiration.
Elizabeth Flanagan: Depends on the time of day. Thinking of the short form, Alice Munro is one of my favorite short story writers. Maybe I'm not so much influenced by her as I admire her ability to write a near perfect sentence, and I don't mean grammatically. She's one of those writers where a line cuts you to your core. You finish the last line, the last word, and you sit, you just sit with it, thinking there was no other ending because it's so utterly complete.
Stuart Bousel: My influences are all over the place, I'm very intertextual, read a lot, see a lot of movies and theater, and I listen to a great deal of music. John Guare and Marsha Norman are my favorite playwrights, but their plays are sort of non-traditionally structured and my plays often follow a structure closer to film or musicals. My monologues, particularly the direct address ones like Llamalogue, are often structured like songs, with choruses repeated and builds and codas. So, for this one I'm going to say Sondheim, who is always an influence, really, for me. Sondheim, and some Shakespeare too. And Dostoyevsky. And Morrissey. All the greats.
Christine Keating: On these plays, probably comedians like Amy Schumer. In general, my favourite playwrights are Sarah Kane and Martin McDonagh.
Daniel Ng: The past couple of years, I've filled in some of my gaps in Vonnegut and Phillip K. Dick. As I get older, I like their ideas (and personal experiences) about persevering in the search for meaning in the face of a bewildering and uncaring, or worse, openly antagonistic world. Like maybe you can be world-weary, yet, at the same time, remain stubbornly human and humane.
Jeremy Geist: This question is hard for me because I can't point at specific mechanisms I use and say exactly who it came from. In terms of my comedy, I will say I've been heavily influenced by a sportswriter named Jon Bois lately. His stuff is some of the best out there these days – check out his Breaking Madden series.
Juliana Lustenader: A major influence on my comedy writing is David Sedaris. I love the way he can spin an average and innocent encounter with another human being into a ridiculous farce using his wit and seemingly endless vocabulary. I didn't use much wit or vocab in To Be Blue, but it is definitely ridiculous.
Alan Coyne: I'd like to imagine that Douglas Adams is a major influence on my work. I owe at least some of my interest in cosmology to the Hitchhikers' Guide series, which I encountered early on thanks to my father. And if I could write like anyone, I would want it to be him. Adams, that is, not my father. Although for all I know, my father could also be a brilliant writer. I mean, he could also be a brilliant writer like Adams, not me, I wasn't saying I was a brilliant writer. Er, let's move on.
Alan Coyne
If you could pick one celebrity to be cast in your show, who would it be and why?
Elizabeth Flanagan: Because it's noir I'm tempted to say Bogart or Bacall obviously. But I'd probably lean more towards Cary Grant. He has a better mix of comedy and suspense.
Juliana Lustenader: Kit Harington, so I can selfishly stare at him during rehearsals.
Stuart Bousel: I mean, it's hard to think of anyone but Rob Ready playing the Llama, but if I had to go with someone else I'm going to say Derek Walcott, who I once heard read and has the like… sexiest voice. Also he's a brilliant poet and he'd probably be able to do all sorts of exciting line readings a traditional actor wouldn't necessarily think of.
Megan Cohen: All the roles in all my plays are written for Madeline Kahn; if you're wondering why, just watch this clip: https://www.youtube.com/watch?v=LTXsec9rvw4M
Lorraine Midanik: That's a tough question, but I'd have to say Anna Deveare Smith. She is extraordinary in how she takes on the persona of her characters. She is magical on stage by combining advocacy with her outstanding acting and writing.
Daniel Ng: Uzo Aduba. In Orange is the New Black, she perfectly rides that edge between mad fool and truth-teller, comedy and tragedy. And have you heard her story about learning to be proud of her name? Look it up–she's a hero.
Christina Augello: Ian McKellen….he is a superb actor who's performances invite you to share in his skill, fun and joy.
Christine Keating: Ilana Glazer and Abbi Jacobson for Part 3, definitely.
Alan Coyne: If I could cast one celebrity in my show, it would be Albert Einstein. But not as himself.
Jeremy Geist: I think Ice-T could do a pretty good job.
Jeremy Geist
What's a writing project you are currently working on and/or what's next for you?
Christina Augello: Working on a personal story to present as a solo show and looking forward to performing in a couple of upcoming plays in 2016.
Christine Keating: I'm directing two plays in Those Women Productions' In Plain Sight night of one acts (September 4-20) as well as writing a full night of plays on horror tropes about sleep for September's Theater Pub (September 21-29!).
Elizabeth Flanagan: I'm nearly finished with a new full-length that I affectionately call "the meth play". I look forward to setting up a reading for that play and hearing it in its entirety. I'm also a cofounder of Ex Nihilo Theater, a new playwright group with Jennifer Lynn Roberts and Bridgette Dutta Portman. We'll have a reading of short plays on Aug 20 at The Octopus Literary Salon in Oakland and in October we will present the first installment of a new serial play that we will be writing and presenting over the following twelve months. We would love to see you all there!
Elizabeth Flanagan
Megan Cohen: I'm writing a big ol' two-act play about a pair of sisters, where the two actresses switch roles every night, and I'm trying to make the dynamic really taut, elastic just totally pulled to the limit between them; it's so tense in the draft right now, and I hope it stays that way. I'm getting out of the house a little, too, acting in a show for SF Fringe Festival that runs in September. I've taken the role of the photographer Man Ray in the DADA spectacle Zurich Plays, so I'll be going full trouser-drag for that which, as a 4'11" woman with serious hips, should be a glorious challenge. (http://www.sffringe.org/zurich/) Looking ahead, Repurposed Theatre (http://www.repurposedtheatre.com/) is doing a whole program of my short works and one-acts in December. All world premieres, all written by me, the show has this really fun vaudeville frame and is called The Horse's Ass and Friends! That's December 2015 at the EXIT Theater, directed by Ellery Schaar, a fabulously fearless partner who seems able to handle anything that comes out of my mind.
Daniel Ng: I'm trying to finish a short story that has now grown to a novella. There is an end in sight, though it's merely vague and barely visible. My goal is to beat George R. R. Martin to the finish line.
Juliana Lustenader: Instead of finishing any of my scripts, I distract myself by auditioning for other people's projects. You can see me as Bianca in The Taming of the Shrew at Curtain Theatre through September and Sister Leo in Nunsense at Altarena Playhouse starting in October.
Alan Coyne: I've been working off and on (mostly off) on a musical involving astrophysicists that will never see the light of day. But more relevantly, I'm playing Petruchio in The Taming of the Shrew at the Curtain Theatre in Mill Valley through Sep. 13, and Stevie in Good People at the Waterfront Playhouse and Conservatory in Berkeley through Sep. 6 (yes, simultaneously; no, I didn't think that through).
Jeremy Geist: Nowadays I'm mostly working on my board game company, follow me at @pknightgames. My flagship release is a Shakespeare-themed combat game called Happy Daggers!
Lorraine Midanik: I'm in the process of revising one of my full length plays after having worked with a dramaturg. The play is entitled Y Women and it focuses on the three very different women who meet in a behavior change program at a local gym. I have been fortunate enough to have had productions or staged readings of three scenes from this play. I'm also a playwright in the Theatre Bay Area's 2015 ATLAS program (Advanced Training Leading to Artists' Success) which begins this month. I am very excited to move my work to the next level.
Lorraine Midanik
Stuart Bousel: I'm working on a whole bunch of stuff I kind of can't talk about. What I can talk about is that I'll be going to Seattle in Septmeber to see the Seattle premiere of my play Everybody Here Says Hello! I'll also be directing the October Theater Pub, which will be a short and furious version of Richard III. There's a billion other things going on, but that's all I can say… for now.
What upcoming shows or events in the Bay Area theater scene are you most excited about?
Megan Cohen: My own, of course! Anyone who says they care more about someone else's shows than about their own is probably L-Y-I-N-G. That said, I'm really feeling Will Eno these days and am excited about The Realistic Joneses finally coming to SF (March 2016); I'll follow actress Megan Trout to the ends of the earth, even if it means seeing Eurydice AGAIN (at Shotgun Players this time, Sept-Aug 2015); and you'll certainly see me in Theater Pub audiences a lot in the coming months.
Elizabeth Flanagan: Aside from all the amazing Pint-Sized shorts you mean? I've never seen Sarah Ruhl's Eurydice so I definitely want to catch Shotgun's production later this month.
Juliana Lustenader: I am looking forward to the Theatre Bay Area Awards this fall. I wasn't able to attend last year, but many of my friends and colleagues were celebrated. Bay Area theatre companies stepped up their game this year and produced some spectacular shows, so I'm interested to see what the adjudicators enjoyed most. But more honestly, I can't wait to celebrate with everyone.
Juliana Lustenader
Christina Augello: The 24th San Francisco Fringe Festival coming September 11-26th and of course Theatre Pub's Pint-Sized Festival!
Alan Coyne: Other than my own, I'm looking forward to seeing Eat the Runt at Altarena Playhouse, and SF Olympians this November.
Daniel Ng: SF Olympians. It's such a varied showcase of ideas and talent and 100% local.
Christine Keating: I'm looking forward to Disclosure from Those Women Productions at PianoFight, as well as the upcoming seasons at Custom Made, Magic Theatre, and Marin Theatre Company. Also, all the shows that are happening soon that I'm exciting about but won't remember until closing weekend, and then rearrange everything to catch them!
Christine Keating
Lorraine Midanik: I am particularly excited by venues that feature plays by women and include strong roles for women. 3Girls Theater immediately comes to mind as well as Shotgun Players that is producing an entire season of plays written by women.
Jeremy Geist: I haven't really been paying attention to anything.
What's your favorite beer?
Megan Cohen: Free!
Christine Keating: I'm more a cider person, I mostly drink Angry Orchard.
Alan Coyne: Smithwick's, for purely patriotic reasons.
Christina Augello: I don't like beer, sorry!
Juliana Lustenader: Hoegaarden, 'cause day drinking.
Stuart Bousel: Bass. Harp. In my 20s I would frequently two-fist both.
Lorraine Midanik: I know this is going to sound odd, but I don't drink beer. (Please don't throw me out of the Festival!). I am actually a cocktail (whiskey sour) and wine person. When I find myself in a pub where cocktails and wine are unavailable or possibly frowned upon, I either order a hard cider (hopefully fruit flavored) or a shandy (beer mixed with lemonade or ginger ale). Forgive me!
Jeremy Geist: Anything from this bracket http://www.sbnation.com/2015/3/23/8277455/jon-and-spencers-beer-bracket-its-the-great-beer-bracket-challenge-so
Daniel Ng: Still Guinness. Always Guinness. They say you can drink it straight out of the new bottles, but they're lying. Use a glass, you savages.
Elizabeth: Feels like I'm obligated to say Guinness. Which may or may not be true. You'll have to catch me at SF Theater Pub's Pint-Sized Fest to find out for sure!
The Pint-Sized Plays will perform four times: August 17, 18, 24, and 25 at 8 PM at PianoFight, 144 Taylor St, San Francisco. Admission is FREE to all performances. For more information, click HERE!
Leave a comment Posted in Theater Around The Bay Tagged 3Girls Theater, Abbi Jacobson, Alan Coyne, Albert Einstein, Alice Munro, Allison Page, Altarena Playhouse, Amy Schumer, Anna Deveare Smith, Anthony Clarvoe, ATLAS Program, Beeeeaar!, Beer Bear, Breaking Madden, Bridgette Dutta Portman, Cafe Royale, Cary Grant, Charles Ludlam, Christina Augello, Christine Keating, Curtain Theatre, Custom Made Theatre Company, Daniel Ng, David Sedaris, Derek Walcott, Disclosure, Dostoyevsky, Douglas Adams, Eat the Runt, Elana McKernan, Elizabeth Flanagan, Ellery Schaar, Eurydice, Ex Nihilo Theater, EXIT Theatre, George R. R. Martin, Good People, Happy Daggers, Humphrey Bogart, Ian McKellan, Ice-T, Ilana Glazer, In Plain Sight, Jennifer Roberts, Jeremy Geist, John Guare, Jon Bois, Juliana Lustenader, Kit Harington, Kurt Vonnegut, Lauren Bacall, Llama, Llamalogue, Lorraine Midanik, Madeline Kahn, Magic Theatre, Magic Trick, Man Ray, Marin Theatre Company, Marsha Norman, Martin McDonagh, Megan Cohen, Megan Trout, Morrissey, Nunsense, Orange Is The New Black, Original Joe's, Phillip K. Dick, PianoFight, Pint-Sized Plays, Queen Mab In Drag, Repurposed Theatre, Richard III, Rob Ready, San Francisco Theater Pub, Sarah Kane, Sarah Ruhl, SF Fringe Festival, SF Olympians, Shakespeare, ShortLived, Shotgun Players, Sondheim, Stagebrige, Stuart Bousel, The Horse's Ass And Friends, The Octopus Literary Salon, The Realistic Joneses, The Taming of the Shrew, Theater Around The Bay, Theatre Bay Area, Theatre Bay Area Awards, Those Women Productions, To Be Blue, Uzo Aduba, Waterfront Playhouse and Conservatory, Will Eno, Y Women, Zurich Plays
Theater Around The Bay: Pint-Sized Plays: The 2015 Lineup
We are proud to announce the lineup for the 2015 edition of Pint-Sized Plays, our annual bar-specific short plays festival!
From over 40 submissions from Bay Area playwrights, we've chosen the following scripts:
She Don't Work Here No More by Christina Augello
Relativity by Alan Coyne
Magic Trick by Elizabeth Flanagan
Colored Pencil Werewolves by Jeremy Geist
People Having Important Conversations While On Their Phones by Christine Keating
To Be Blue by Juliana Lustenader
Branding by Lorraine Midanik
Wretched by Daniel Ng
In addition, Pint-Sized will see the return of two favorite characters:
Llama V by Stuart Bousel
Bear 2: Electric Beargaloo by Megan Cohen
Stay tuned for announcements of directors and actors in the coming weeks! And mark your calendars so you don't miss the show in August! The Pint-Sized Plays will have four performances: August 17, 18, 24, and 25 at 8 PM in the PianoFight bar space.
Leave a comment Posted in Theater Around The Bay Tagged Alan Coyne, Christina Augello, Christine Keating, Daniel Ng, Elizabeth Flanagan, Jeremy Geist, Juliana Lustenader, Lorraine Midanik, Megan Cohen, Pint Sized Plays V, Pint-Sized Plays, Stuart Bousel


FALMOUTH — The banner atop the No. 7 METRO bus from Portland to Falmouth reminded residents to vote on Tuesday.
Voters turned out in large numbers to support the bus, with 5,289 voting to maintain the service and 2,223 voting for its demise.
"It looks like this issue is settled once and for all," said Lisa Agnew, spokeswoman for the Friends of the Falmouth Flyer.
The bus route was established in 2004 and has survived two Town Council votes on whether to kill the $117,000 annual expense.
Local Question 1 ended up on the ballot after a successful petition drive by resident Michael Doyle in June. Doyle, who ran the campaign to end the bus, said he does not oppose the bus service, but felt residents deserved the opportunity to vote on the expense to the town.
Doyle said Tuesday that while he doesn't agree with the town's decision, at least residents had the opportunity to vote.
A major point of contention was daily ridership.
In 2011, METRO recorded 79,000 rides, a number that has steadily grown every year, according to the Greater Portland Transit District.
Bus proponents maintain the service is necessary to Falmouth's economy, because 19 businesses, including Goodwill and Skillins' Greenhouse, have employees who rely on the bus to get to work.
Ending the service would have had an effect not only Falmouth residents, the only ones with the opportunity to vote on the issue, but also Portland residents, who catch the bus on Veranda Street and ride it into either downtown Portland or Falmouth.
According to Steve Kirby, senior director of finance, systems and new technology for METRO, if voters had voted to remove the service, the Portland stops the Falmouth Flyer makes would have been eliminated and patrons would have to take the No. 6 bus, which services Washington Avenue.
With the support of the voters, Agnew said the bus service will continue to serve those who need it.
"The bus is going to continue to grow and become an even more important contributor to our community and to our local economy," she said.


text:
WPP appoints Rob Reilly as Global Chief Creative Officer
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iProspect and Vizeum brands to integrate to form future-focused iProspect brand globally
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Intrepid Fox South Africa Earns Carol H. Williams Together For Better Award 2020 Executive Jury Honors 4 Independents with Grand Awards: Vic Lee, Soda Producciones, Pepi Ginsberg, and Creatives for Kitchens New York Festivals® Bowery Awards, celebrating independent creatives, announced…
Five from MENA Win The One Club Young Guns 18 Competition
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WPP and Anzu.io partner to bring new in-game advertising standards to global brands
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The One Show 2021 Reduces Entry Fees For Three Countries in MENA
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Steely Dan: Gaucho
"Gaucho"
Stereo/Multichannel
Recording type:
Recording info:
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Related titles: 3
Steely Dan: Countdown to Ecstasy
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Steely Dan: Pretzel logic
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Reviews: 17 show all
Review by JW December 30, 2003	(22 of 22 found this review helpful)
Performance: Sonics:
Review in three parts;
This SACD is so much better than it's silver 1984 MCA predecessor its laughable. Even the redbook layer is a big step-up from the RBCD that I own (250 422-2 (MCAD-37220)).
The soundstage is wider and deeper, the treble on the SACD is so extended (the RBCD is very constricted and sounds capped in comparison) and the voice is more dimensional and natural.
Good though the treble may be I question whether this SACD is the latest word in treble extension, hearing a little hardening of the upper octaves in 'Hey Nineteen' and 'Glamour Profession' (section between 4:00 and 4:15) or Gaucho (around 2:44) for example - but this could very well be (probably is) my system and I'm being very critical here. [Postscript: after a re-tube and circuit mod to my pre-amp these artefacts indeed disappeared: JW]
The CD layer on the hybrid is also very good with a lot of the SACD attributes only less so. Goes to show that RBCD has come a long way, because the MCA disc of the early eighties was well regarded and it still sounds pretty good compared to some of its compadres (if you want to torture yourself, or just need confirmation, just listen to the absolutely horrible sounding 1985 Gary Moore CD 'Run for Cover' for example).
If I listen to the old RBCD the whole picture caves in as it were, the treble hardens and you miss the headroom. There is very little decay as compared to the SACD, and the metal tick on the cymbal is almost completely missing. The SACD is also louder. Had to turn up the volume quite a bit on the RBCD to match levels.
Turning to the SACD again and I notice the chorus on Gaucho is spread out in front of me in a nice arc over and beyond the speakers. Lots of space between the electric piano, voices and drums. The muted strumming of Steve Kahn's rythm guitar providing some nice depth to the soundscape. This detail only the SACD can bring out.
This time I pulled out the 2000 Remaster RBCD.
2000 Remaster vs SACD
The Remaster sounds pretty good upon first listen, but when you insert the SACD you immediately recognize the bigger, bolder, richer sound and soundstage. The SACD is louder than the remaster - I adjusted level. Better instrument separation. Voice is more natural, focussed and emerges better from the music. The cymbals and percussion are more natural. The tenor has more brassiness and the electric piano has a purer tone, longer decay and also stands out more. And the rythmn guitar is more audible - the Remaster still buries it into the mix. The percussion at the end can be heard as individual metal cylinders being struck rather than a more squashed together metallic sound. Overall you can hear deeper into the music with the SACD.
2000 remaster vs CD layer of Hybrid SACD
Immediate reaction is that the soundstage collapses to a fair extend. I also had to adjust for the lower level of the Remaster. The Remaster is nice but a little harder/brittler than the CD layer of the Hybrid SACD - especially noticeable on the electric piano and the chorus. More distant perspective on the tenor.
The 1984 RBCD further continues along these lines. The level is much lower, the soundstage collapses further, the music does not breath as much (less instrument separation) and the entire perspective is more distant and less involving. But it's a nice CD judged on its own merits.
The score is therefore as follows:
1) SACD
2) CD-layer of SACD
3) Remaster
4) RBCD
No surprises here. Naturally this is what I heard in my system/room and I welcome and recognize other perspectives. A longwinded way if saying YMMV :-) Based on my observations the SACD is worth the price of admission. Both its Redbook and its SACD layer provide noticeable and preferable (to me) differences. My last venture will involve the LP, so on to Part III.
The story continues and ends with these listening notes:
A. 1980 MCA Record (yes, the RL mastered MCA version)
B. 1984 MCA CD
C. 2000 MCA Remaster
D. 2003 Hybrid SACD - RBCD Layer
E. 2003 Hybrid SACD - SACD Layer
A vs. B
When switching back and forth between the record and the CD, it is very obvious that the record is the winner here. The CD sounds dry, thinner and 2-dimensional in comparison. Though nothing to do with sound quality as such, it continues to surprise me how low the recording level is on the CD. I find that the CD has very little natural decay. Voices are flat and the record sounds so much richer and detailed. Night and day.
A vs. C
The remaster definitely has a fuller sound than the 1984 disc, but compared to the record it still sounds somewhat edgy and the electric piano sounds harder, with more metallic overtones. The soundstage is not as wide and the cymbals sound less natural. The record wins again.
A vs. D
Now it becomes a real fight. The differences are no longer very obvious and one has to do more analytical listening. Soundstage wise both are very much equal, with perhaps a slight edge to the record. The record also edges forward on the voice, which sounds more three-dimensional and less dry. It's a close call, but you could say that the record wins the third round on points.
A vs. E
Coherency versus punch. The SACD wins on audiophile points, the record scores as a coherent, musical medium. The SACD highlights the individual instruments and the voice stands out more. There appears to be more going on on the SACD. The SACD also does a better job on the drumkit - more punch. And there is more headroom. I note that the cymbals sound very natural on the record, and I think it's in the decay where the difference lies. Having said that I think they sound equally good, but different. The record embraces the total musical event and doles out attention evenly whilst preserving enough detail to satisfy the audiophile ear. The soundstage on both is of equal size and depth. I cannot decide a winner and the outcome of this round comes down to an individual preference.
This work remains one of my favorites and it's great to hear it reproduced so well in my system. Wonder on what format we'll buy it next...
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Review by 24-96 Mastering January 11, 2005	(18 of 20 found this review helpful)
"One word: fantastic. Nothing else to add."
Apparently, that wasn't very helpful before, sorry. (That's where the 2 "review did not help" votes come from.)
Please allow me to make up for it and write about this disc in more detail.
On music and performance:
Musically, Steely Dan are very special and there's no other group one could associate them with.
The songs are always "clever", in story-telling lyrics, jazzy chords, lush arrangements. Many folks will find Steely Dan in general sterile, calculated, etc. but I find the combination of easy-listening elevator funk and sophisticated harmonies and arrangements a great combination. Steely Dan can run in the background on a coctail party or it can occupy and posess you like a Chick Corea record, depending on how much you want to engage with the music. To me, that is the fascination of Steely Dan.
All this is not specific to "Gaucho". In my view, Steely Dan are very consistent. If you transferred all Steely Dan songs ever made onto one single disc, one would have a hard time determining which songs originated from which album. This does not lesson the greatness of "Gaucho" though. This record is as great as any other Steely Dan record; that is, if you find Steely Dan of interest. If not, this disc, just as any other disc by Steely Dan, Donald Fagan or Walter Becker will sound like supermarket background music to you.
One detail on this disc should be mentioned though: The first track, "Babylon Sisters", is particularly well done. The minimally stripped, slow groove when the song starts, the delicate and playful rhodes licks, the mellow but intruiging chords of the verse and finally - the amazing impact of the chorus with its gorgeous backing vocals still give me shivers. The other tracks are great too, but to me, it's obvious that there's a good reason "Babylon Sisters" starts off the album: It grabs you and just doesn't let go.
On sonics:
Steely Dan are one of the few artists that have a very good idea about how they want to sound - and about what's possible with regards to sound quality. In fact, steely Dan have produced the favourite discs of car HIFI salesmen for decades. When you buy a Steely Dan album, you expect very balanced frequency distribution, dry and fast transients, level headroom that allows peaks to stand out miles above the average (i.e. when a musical peak in energy comes along, it has the means to really grab you).
Even today (referring to "2 against nature"), they are one of the few artists I know that make contemporary music that feel no or little need to follow the loudness trend.
Steely Dan have employed Elliot Scheiner as mixing engineer for quite a while, one of the very few engineers with an impressive resumé of surround releases. The multichannel mix is very tasteful, but does make strong use of the rear speakers. Someone who does not like instruments to be mixed in the rears will not like it on this disc either; those who can accept that or even like it will find great joy in the surround mix.
One of the first things that strikes me when listening to the disc is that there is some easily audible noise. First I asked yourself why it was not taken out with adaptive filtering. I'm sure they considered it but decided to 1. stay true to the original release and 2. decided that the noise is better than the artifacts and loss of transients that denoising would have introduced. The dynamic impact of the disc is amazing. Take the fast dynamics from Thomas Dolby's "Aliens ate my babysitter" (tracks "airhead" or "pulp culture", for example), add some warmth, some intimacy, some 'organic' interaction between instruments, great songs, delicate arrangements and you have "Gaucho".
If you are a person that gets a kick out of sound reproduction, you'll enjoy this release immensly. And if Steely Dan does something for you, musically, then it would be a sin to not buy this disc.
Review by junior kelly April 22, 2004	(6 of 6 found this review helpful)
What to add to Joel's fanatical attention to the various reissues, his encyclopedic comparisons? While this isn't an improvement of a great LP pressing of the album, it comes closer than nearly than any SACD I've heard. Plus, it's a real treat to hear the new mix, quite different than the LP. (Apparently we're hearing the lost master tapes for the first time in decades.) Voices are brought up in the mix, including backing vocals...some of which used to sound slightly 'spitty.' Now they are as smooth as I've ever heard them. Rich, powerful (more punchy than LP) and with bite when the music demands it...with none of the euphonic LP roll off when the music takes off with real instrumental edge. (The best analogy is tha this SACD sounds analog in the same sense of an expensive moving coil.) This is truly a test SACD disc and you should definitely use it to evaluate SACD players. On the best SACD players, the width of the soundstage is astounding, the depth of the recording is excellent and the instruments are all immaculately placed in space. Very unusual for any cd or SACD. Sounds very close to LP, and in the cleanness and precision of the music and blackness of the backgound, it is actually superior to the best LPs, failing only a tad at generating the overall warmth of the LP. While the LP sounds a bit smooth and laid back, this is far more ballsy, but never becomes edgy. Overall, this is a different experience from analog entirely, sounding more like a precise master tape than an LP...so, in many respects, most will find this superior. I used this SACD to evaluate and choose an audiophile player...the Krell Standard. The performance of Gaucho on the Krell was the best I've ever heard from the format. Period. Even compared to players double the price. A benchmark SACD. Makes it difficult to play even the best K2 redbooks after hearing this disc. If all SACDs were re-mastered like this, redbook would simply disappear...it's that good.


text:
Rangers Lotto
T&C, disclaimer & comment moderation
Ibrox shock - game changer after hammer blow?
Rangers may have been hit with a hammer blow following a potentially broken foot after star midfielder Ryan Jack had to be placed in a leg brace following the Pittodrie clash.
The 27-year old has been to consult at hospital and while the extent of the damage is not yet clear, the fact the ex-Dons captain is now in a brace like Eros Grezda and Jordan Rossiter in recent seasons bodes far from well, and he is certain to miss the trip to Edinburgh on Friday.
But it's the long-term ramifications which are deeply worrying – Jack has been one of Rangers' standout performers this season – a huge part of why the team's form this calendar year and a massive reason Steven Gerrard's men overcame Celtic.
If he is now missing for even the medium term it could be undeniably damaging given just what he offers to the team in both attack and defence, seeing as how Jack has developed this season.
Ryan Jack being out for the run in and the split could well be as big a problem for Rangers as losing Rodgers was for Celtic.
Let's hope it doesn't come to that.
Posted by Ibroxnoise.co.uk at 14:30
Labels: Ibrox, Rangers, Ryan Jack
four four two 5 March 2019 at 16:36
Just have to get on with it got to play McCrorie in his place Davis is not the guy to come in he is nowhere near the player he was his body language says it all it is a pity he was a great asset to us before on injuries where is Grezda is he still at Ibrox
Joe90 5 March 2019 at 16:49
Just highlights my theory, combined with the number of injuries sustained this season, that teams that play against us are 'over-physical' in stepping up their game, against us. I don't know, but i'd guess, our injury list this season has been far higher than the rest. I can't prove that, but highly suspect it.
Hendo1872 5 March 2019 at 16:52
Step up Ross McCrorie
Robrob57 5 March 2019 at 17:04
I'm a bit ambivalent towards this news. It's always a blow to lose players and particularly those that are first picks but I'm not as convinced as others about the value Jack brings. I personally think he is part of the reason for our slow build up with too many side and backwards passes. Often this is when under no pressure and at the expense of driving forward 10 - 20 yards then picking a forward pass. However, he is obviously a key player for Gerrard and that's good enough for me. What it does do is open the door for others to step up.
It's a shame that Ryan jack is out injured but rangers have a good team to beat all the other teams even celtic
As I am in NZ I see very little of Rangers games I follow every one on the computer Live Commentary and only receive comments during the games I think we have done very well this season but have thrown away some very valuable points. However there are still several games to go I am still hopeful that the season can prove fruitful in some way. Has the draw been made for the Semi Finals ? As regard Gerrard this as we know is his first season as manager He will have learned a lot, and I think next season he and the team will show improvement
Kind Regards to all the Bluenoses
From the antipodes
Jimmie (No Sur)
Mccrorie well able
What happened? Was he hit by a flying chair?
Need gerread to be happy to finish 2nd again regarding the bhoys look for treble treble first in history as far as I know that the big clubs would be knighted for that
Knighted? PMSL. Winning something with no competition is NOT an achievement. It's an irrelevance!
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Gov. Tom Wolf announced Thursday that his administration is moving ahead entering into an inter-departmental memorandum of understanding (MOU) that would merge the parole agent functions of the Department of Corrections and Board of Probation and Parole.
Making his bi-weekly appearance on KDKA 1020 AM's morning show with Larry Richert and John Shumway, Gov. Tom Wolf defended the process being used to vet the closure of two state correctional institutions.
In our podcast for this week we talk to Sen. John Yudichak (D-Luzerne) about the potential closure of SCI Retreat and other state prisons after the administration's announcement last Friday that two of five named facilities will be mothballed.
Speaking on KDKA 1020 AM's morning show, Gov. Tom Wolf gave a glimpse into his February 7 budget address saying he will unveil his plan to reimagine state government in his FY 2017-2018 budget proposal as the means to bridge the deficit gap.
Gov. Wolf also reiterated his pledge to not balance his budget proposal using increase in the personal income or sales tax.


text:
NCAA Tournament: Day 1 Preview
The tournament kicks off today - who are the favorites?
By Jeremy Conlin (@jeremy_conlin)
The NCAA Tournament technically started Tuesday night with the first two play-in games. But those games really don't matter. Even after VCU advanced to the Final Four as a play-in winner in 2011. The odds of that happening again (if only because the odds of winning five games in a row as a No. 11 or No. 12 seed as opposed to four in a row) are astronomically low. Especially this year when the play-in teams are, well, not very good. But I digress.
The NCAA Tournament REALLY starts today. There are 16 games, with each region and each seed represented. A few games have upset potential, a few games have blowout potential. Let's start to break them down:
Most Likely To Be An Upset (11 Seed or Higher):
1. Harvard over Cincinnati
2. Dayton over Ohio State
3. North Dakota State over Oklahoma
Harvard over Cincinnati seems to be a popular pick. Other than Wichita State from the Missouri Valley Conference on the No. 1 line, Harvard is the highest-ranked team from any conference with only one representative, meaning they're better than the usual low-seed automatic-qualifier fodder like Coastal Carolina (Big South), American (Patriot League), or Cal Poly (Big West). Meanwhile, Cincinnati comes from the weakest of the "power conferences," the American Athletic Conference, which finished closer in cumulative SRS ratings to the Mountain West Conference than to the Big XII. On top of that, Harvard pulled an upset in Round 1 last year, beating New Mexico.
Ohio State might be the most vulnerable team seeded 4-6 in Round 1, losing to Penn State and Indiana in the last week of the regular season, then barely squeezing by Purdue and Nebraska in the Big Ten Tournament, so they get lumped in by proxy. Dayton probably isn't the team to take them down, but keep an eye out.
North Dakota State has also been a popular upset pick, but it's mostly been because of the alleged over-seeding of Oklahoma. Even though the Sooners finished second in the Big XII during the regular season, they're seen as not being quite as good as Iowa State, Baylor, or Oklahoma State, and there is some argument there - even though Oklahoma out-performed them in the regular season, those three teams have higher ceilings with more NBA talent, which could be a harbinger for tournament success. If you think Oklahoma doesn't deserve their No. 5 seed, you might pick against them.
Most Likely To Be a Blowout:
1. Florida over Albany
2. Michigan over Wofford
3. Louisville over Manhattan
The first two are obvious choices - No. 1 seeds have an average margin of victory in Round 1 over 20 points, and No. seeds aren't too far behind them.
Louisville isn't a top seed, but they should be. SRS ranks them as the best overall team in the country despite a strength of schedule that leaves something to be desired. Manhattan, meanwhile, despite having been a sleeper upset pick before the bracket was released (and had they been slotted against a different No. 4 seed, like UCLA or San Diego State, might have been a popular upset pick), ranks just 95th in the country in SRS, some 20 points worse than Louisville.
Players to Watch:
1. Gary Harris, Michigan State
2. Shabazz Napier, Connecticut
3. Scottie Wilbekin, Florida
Harris is the only one with real NBA potential (Napier is projected as a late second-round pick, Wilbekin won't get drafted unless he has an insane tournament run), but all three are game-changers at the college level. Napier, like Kemba Walker before him, has the potential to lead his team deeper into the tournament than any expected simply by converting ridiculous shots at opportune moments. Harris is the best player of the group, and serves as the fulcrum for an elite team that is finally healthy and playing at their best. Wilbekin has the least raw talent of the three, but he's a senior, incredibly smart, and is Florida's only player capable of creating a good shot late in the clock. If Florida is going to make the Final Four, Wilbekin will need to get them there.
Today's Picks:
12:15 PM: (6) Ohio State over (11) Dayton
12:40 PM: (2) Wisconsin over (15) American
1:40 PM: (9) Pittsburgh over (8) Colorado
2:10 PM: (12) Harvard over (5) Cincinnati
2:45 PM: (3) Syracuse over (14) Western Michigan
3:10 PM: (7) Oregon over (10) BYU
4:10 PM: (1) Florida over (16) Albany
4:40 PM: (4) Michigan State over (13) Delaware
6:55 PM: (7) Connecticut over (10) St. Joseph's
7:10 PM: (2) Michigan over (15) Wofford
7:20 PM: (5) St. Louis over (12) NC State
7:27 PM: (5) Oklahoma over (12) North Dakota State
9:25 PM: (2) Villanova over (15) Milwaukee
9:40 PM: (7) Texas over (10) Arizona State
9:50 PM: (4) Louisville over (13) Manhattan
9:57 PM: (4) San Diego State over (13) New Mexico State
Full Picks
Just so I have them on record, here are all of my picks
Round of 32:
Florida, Pittsburgh, Stephen F. Austin, UCLA, Ohio State, Syracuse, New Mexico, Kansas (South Region), Virginia, Memphis, Harvard, Michigan State, Providence, Iowa State, Connecticut, Villanova (East Region), Arizona, Oklahoma State, Oklahoma, San Diego State, Baylor, Creighton, Oregon, Wisconsin (West Region), Wichita State, Kentucky, St. Louis, Louisville, Tennessee, Duke, Texas, Michigan (Midwest Region)
Sweet 16:
Florida, UCLA, Syracuse, Kansas, Virginia, Michigan State, Iowa State, Connecticut, Arizona, Oklahoma, Creighton, Wisconsin, Kentucky, Louisville, Duke, Michigan
Elite Eight:
Florida, Kansas, Michigan State, Iowa State, Arizona, Creighton, Louisville, Duke
Final Four:
Florida over Michigan State
Louisville over Arizona
Louisville over Florida
Labels: college basketball , march madness , ncaa basketball , ncaa basketball march madness , ncaa tournament , nfl , Picks


text:
P. Andrew Blatt Ph.D.
P. Andrew "Drew" Blatt is a Partner with Wood, Herron & Evans and is involved in all phases of the firm's practice. Drew concentrates his efforts on patent, trademark, copyright, and trade secret litigation. Admitted to the Ohio bar in 1998, Drew joined Wood, Herron & Evans that same year. He is registered to practice before the U.S. District Court, Southern District of Ohio, the U.S. Court of Appeals for the Federal Circuit, and the U.S. Patent and Trademark Office.
Drew received a Bachelor of Science degree in Aeronautical Engineering from Embry-Riddle Aeronautical University in 1988, a Master of Science degree in Aeronautical & Astronautical Engineering in 1990 and a Ph.D. degree in Aeronautical & Astronautical Engineering in 1993 from Purdue University. He received his Juris Doctor degree from the University of Cincinnati College of Law in 1998.
Prior to receiving his law degree, Drew worked as a materials research engineer at a government research laboratory. He is a member of the Ohio State Bar Association, the Cincinnati Bar Association, the American Intellectual Property Law Association, and the Cincinnati Intellectual Property Law Association.
Mechanical/Aerospace
Ohio, 1998
U.S. District Court Southern District of Ohio
U.S. Court of Appeals Federal Circuit
University of Cincinnati College of Law, Cincinnati, Ohio
Juris Doctor - 1998
Bachelor of Science - 1988
Major: Aeronautical Engineering
Master of Science - 1990
Major: Aeronautical & Astronautical Engineering
Ph.D. - 1993
Design Patents, Heat Treating Progress, September, 2009
Cincinnati Bar Association
American Intellectual Property Law Association
Cincinnati Intellectual Property Law Association (Cincy IP)
Pro Bono Activities
Music Ministry at Immaculate Heart of Mary Parish, Guitar
Download (vCard)
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Here is mine last year when we went to Destin FL.. Going back in May, can't wait!!!
Great pics! That water looks amazing!
Edited by SUPERCHARGED, 14 March 2005 - 10:58 PM.
Nice lookin' doo, I have always loved that maroon color on the doos!
Mine is exactly like yours, except I have a rip in my middle seat!
Do we have a weatherman on file that can tell me if it will warm up here in the next 3 months or so...Damn, it's cold.
30F today, and that's not bad -- could be worse, lake erie's frozen about a mile out or so, will be a while yet by the looks of it.


text:
Q: How to place two elements (image and text) in a one row Im writing some code using HTML and CSS only. And in header i have 1 image and some text after it. I need to place them in a one row to make it look like a normal header.
I was trying to use display: inline-block but it not worked for some reason

 header{
        display: inline-block;
        width: auto;
    }

Learn about your game

A: Using flex
header {
    display: flex;
    align-items: center
}

A:

.image-text {
display: flex;
align-items: center;
}
.image-text__image {
flex: 0 0 auto;
padding: 1em;
}
.image-text__image img {
display: block;
}
.image-text__text {
flex: 1 1 auto;
padding: 1em;
}

Learn about your game

A: Use Flexbox:-
header {
  display: flex;
  align-items: center;
  justify-content:center;
}

header h1 {
  padding-left:20px;
  box-sizing:border-box;
}

A: header{
            display: flex;
            width: 90%;
            flex-direction: column;
            justify-content: center;
            align-items: center;
            margin: 20px auto;
            background-color: red;
            text-align: center;
        }
        header img,header h1{
            display: block;
            width: 80%;
            margin: 5px auto;

        }
    </style>

add this to your css

redpajama_set_name: RedPajamaStackExchange


This is part 4 of a 5-part series, 'Loneliness is the Ultimate Poverty', written by Leah Bisiani. Please ensure you have read parts 1-3 to appreciate this information in context.
People living with dementia often attempt to search for such meaning by reminiscing about the defining periods within the rich tapestry of their lives.
Without the ability to connect and retain relationships with those around us, it is possible a person may lose faith in who they are, whilst their inherent personhood fades, thus they feel undervalued.
We are additionally and enormously disinclined to recognise, encourage and rejoice in most human abilities, including differing methods to communicate, and this unfortunately may deprive every one of us.
Social contact and positive interface with others is a crucial feature in preserving and shaping our individual uniqueness, as we often define ourselves based on this rudimentary human necessity.
Enabling someone to again reopen the lines of communication may profoundly change a person's life experience.
Does this not additionally, imply, activities of significance developed for individuals with dementia may assist them to experience positive emotion, thus communicate specific information about preferences that may be considered personally unique and meaningful to them?
Person-focused approaches, instigate dramatic changes within the malevolent philosophies of care associated with living with dementia.
Care needs should always be adjusted and refocused towards each individual, by understanding that biopsychosocial needs require merging with more functional and clinical paradigms, to truly foster a balance.
This is a rudimentary dynamic associated with an area which is habitually misunderstood, yet it's the most definitive and critical factor in salvaging a person's spirit.
Hence it is vital that we consider the significant affiliation between these features and connect them to the person.
Consider, instead of denying personhood, we adopt a more empathetic and compassionate approach towards understanding and caring for older people and people living with dementia, so that it is ensured our presence impacts positively on their lives in a deferential, affectionate and tender manner.
This then enables a person to experience some level of control over their own lives.
Regeneration of past relationships and jubilant, happy, carefree times, may additionally aid in fulfilling attachment needs, which strengthens the enduring bonds that may possibly exist in one's life, and form a connection between generations.
This can be accomplished through ongoing interaction of a nature which advances techniques to engage in any activity that convey significance to the individual's past or present life.
It is often discussed, that empathy and emotional comfort engender softness, intimacy, the calming of pain and sadness, as well as resolution of the need to express stress related emotional states such as anxiety and agitation.
Delving into the past memories of any person, including people living with dementia, may be considered an admirable approach in re-establishing or re-generating lost emotional security and cherished relationships.
Especially acknowledging the relevance of how long-term memory is a significant positive feature related to dementia, of which is retained for the lengthiest amount of time.
Maybe this can be further expanded upon through the utilisation and encouragement of quality time with relatives and friends, routines, pets, books, hobbies, familiar music, physical activity, and lifelong customs.
Nevertheless, it is imperative to remind people of the simple pleasures, that may be central to their happiness, such as a beautiful garden, birds singing, smelling a flower, a sweet cup of tea or a warm hug.
What a delightful and pleasing way to acquire and share the foundations and knowledge about another human being and acquaint yourself with the sparkle that is shining within their soul.
Envision the remarkable implications of capturing the life story and memories of another.
It is possible to collect a vast fountain of valued and precious information and insights into a person, illustrating to us all how such treasured moments in time can exemplify who they have become.
This powerful awareness enables us to visualise a less fragmented image of a person, and instead digest the phenomenal lifetime that has become the person in front of us.
What a privilege to be invited to enter such a remarkable world of diversity and wonder, and to share the extraordinary magic with those who breathed it.
Knowing a person on such a glorious, personal level, may be the catalyst to creating opportunities that eliminate their inner despair and pain, imparting hope, uplifting the soul and raising self-worth.
By recognising the life transitions of another, interacting on a human level, connecting with compassion, and acknowledging emotional desires, we may effectively endorse social understanding, intimacy, comfort and warmth.
The emphasis should therefore be focused wholly on the person, to guarantee our attentiveness and utmost flexibility captures their essence, values their life experiences and acknowledges the place they continue to hold in the world.
Only then can we embrace a person within their own private actuality and empower ourselves to preserve their integral rights as a human being.
Recognising the evolution of a person throughout their own splendid journey and divergent life transitions, allows us to honour their humanity, retaining those wonderful elements required to enable us to cultivate compassion by learning to respect and value others.
We cannot deny how these myriads of experiences contribute to a lifetime of development and must ensure these aspects of a person's spirit are always retained, holding a significant place within.
We do not have the right to savagely reject others nor strip people of who they are, purely because we are so unyielding, and lack the ability to see life through their eyes.
Reminiscence and validation are both a powerful and fascinating technique used when acting compassionately and initiating positive interaction.
Through the precious, poignant beauty of nostalgia we can empathetically capture the essence of a person, whilst linking and validating their long-term passions, sentiments and memories, to the present moment.
This heightened awareness allows us to function on a transformed stratosphere and permits us to demonstrate untainted deference for lives well lived.
Why would we not desire to sit down with a person who is older and usually much wiser, than us? Why would we not be caring enough to enter, learn and discover what it is that makes their world real and tangible?
All people are made up of innumerable captivating moments in time, superb stories, heartbreak we possibly cannot envisage, poignant and sweet memories, horrific loss, incredible joy, and uplifting recollections that make their story complete.
These wonderful images of life, painted by the artist themselves, can successfully close the gaps between our broken generations and foster total appreciation of the differences that make us so very special.
The use of old, faded, photographs that may curl at the edges, hold moments in time for eternity.
Song and dance can sift through the years and make smiles appear where none have flitted for so long. Sentimental possessions and little trinkets may all generate contact and interaction on a level that does not only rely on verbal interaction.
Anything can be shared if only we showed some interest.
Children are also a wonderful and delightful source of non-judgemental, unconditional honesty and acceptance.
They are exceptional in the innate skill they possess in 'taking people as they come'.
They do not have inbuilt stigmatised or stereotypical arrogances clouding their virtuous innocence.
Only we, as the role models of the younger generation, foster negativity in our children's hearts and minds.
Therefore, it is we who must create change, teaching our offspring to develop the skills required to mature in a fashion that allows humanity to learn to cherish one another, and exist together as one, because of our differences, and not in spite of them.
This completes Part 4 of "Loneliness is the Ultimate Poverty", written by Leah Bisiani.


Proof Gold American Eagle coins are part of a larger program of official sovereign coins from the United States Mint that include gold, silver, and platinum coins. The Gold American Eagle program is the most diverse, with three different versions and four weights struck on an annual basis. Today, Silver.com offers the 1987-P ½ oz Proof Gold American Eagle coin for purchase in perfect condition.
Coins ship in an NGC protective plastic slab.
Consists of a total weight of one-half troy ounce of gold.
Gold American Eagle coins were first introduced in 1986 in both bullion and proof versions. While the bullion version of the coin debuted with four weights in total, 1 oz, ½ oz, ¼ oz, and 1/10 oz, the proof coin was only available the first year in the full 1 oz weight.
These 1987-P ½ oz Proof Gold American Eagles were the first fractional-weight coins struck in the proof version. One year later, in 1988, the United States Mint expanded the proof program to include the other two fractional-weight coins, the ¼ oz and 1/10 oz.
On the obverse face of all Gold American Eagles is the image of Lady Liberty created by Augustus Saint-Gaudens in 1907. His image depicts Liberty as she guides the nation forward into an unknown future with confidence. Featured in full-length, she strides confidently forth from the nation's capital, the sun setting at her back, as she holds a torch aloft to light the way.
Sculptor Miley Busieks' depiction of a family of nesting bald eagles graces the reverse of the coin. Her image was created in 1986 and is used exclusively on the Gold American Eagle program.
Each coin in this Silver.com product listing has a perfect PF70 grade from the NGC. Perfect proof coins are characterized by their full, original luster and a lack of detracting flaws. Ultra-cameo defines the strong, frosted finish of the design and the deeply-mirrored, clear background field.
If you have questions, don't hesitate to reach out to Silver.com at 888-989-7223. We're also available online using our live web chat and email services. If you are interested in similar products, be sure to check out our full selection of Gold Bullion.


When it comes to buying a laptop for heavy usage such as video editing, there are very limited options. Unlike Gaming Laptops that have completely saturated the market, Workstation laptops are a rare find. Luckily Asus is here to save the day with their brand new StudioBook S that packs all the power you'd expect from a portable workstation inside a beautiful chassis.
The StudioBook S is powered by an Intel Xeon E-2176M CPU paired with 64GB of DDR4 RAM and a 4TB SSD. Now this alone would suffice a lot of heavy users but what's more is that it even comes with an Nvidia Quadro P3200 with 6GB of VRAM.
Possibly the best feature is the design and build quality of machine. At first glance no one can tell how much power it possesses simply because of how thin and Ultrabook-esque it looks. It has an aluminium uni-body with a 17-inch NanoEdge display with edge-to-edge bezels adding to the premium feel. The display itself has a resolution of 1920 x 1200 and covers 100% of both sRGB and AdobeRGB spectrum and 97% DCI-P3 which is nothing short of impressive.
The I/O selection is also quite generous for a laptop this slim. You get 1x Thunderbolt 3.0 USB-C with DisplayPort 1.4, 3x USB 3.1, 1x HDMI 2.0, 3.5mm headphone jack and a built in UHS-II SD Card slot.
The Asus StudioBook S W700 will be launching around Q3 of this year. No info on the prices as of yet.


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The weather in Albany was near perfect for the 7th annual Pearlpalooza street festival on September 17. This all day, free event has become a favorite among people in the Capital Region, and this years festival did not disappoint. Attendees had plenty of craft and food vendors to browse while rocking out to the stellar music lineup. This year's Pearlpalooza featured Galactic, Warpaint, Maybird, Bassh, The Greeting Committee, and Rechorduroys.
Conor McMahon is based in Albany, NY. Although he works in sales, Photography is his true passion. His love for photography began at young age when he made a "pinhole" camera for a school project. Until recently, he primarily shot nature and Landscapes. Concert photography has re-sparked his love for the lens. He likes how challenging it is to get "the shot", with drastic lighting changes, and fast moving subjects.You can find him at any phish show on the east coast, or at jam festivals throughout the Northeast.